Nowadays, we are surrounded by information at lightning speed. Bombings, air crashes, cyclones, earthquakes. These dangers, manifest and unambiguous, are imposed on individuals and the artist can visually apprehend them.
My work, on the contrary, through the use of installation, video or screen print, seeks to grasp more insidious technological and environmental risks which, even if they are omnipresent in our environment, can fall quickly into a collective forgetting. Hidden objects, such as the air filter or invisible elements, such as pollution attract my curiosity. Despite their transparent aspect, they are massively part of our lives without having a recognizable face.
The water vapor of the Dublin incinerator has been a tool for me to illustrate this change of state between visible and invisible. Under the reflection of light, this ephemeral cloud is constantly changing colors and is perpetually moving. The video appears as a relevant medium to capture that ephemeral movements and immortalize this last tangible proof of a nature seeking to absorb an uncontrollable human activity.
The principal objective of my work is to seat the spectator in the position of an explorer. On a large scale format, my installation attempts to open a window to the invisible world. As the air is filling our environment, I like my work to be in dialogue with the space. The ceiling is one of the architectural spots I enjoyed to work with most. Indeed, this situation is one strongly related to our History, synonym of hopes, beliefs and spirituality. I find it interesting to build a bridge between this historic aspect of the space and our contemporary questioning around the danger coming from the invisible.
Through my research, centered on the invisible, I would like to awaken the collective unconscious about the ambivalent nature of human progress, apparently creative, but undeniably destructive. ‘Constant progress, a wheel with double gears, makes things work by crushing someone’ Victor Hugo – Les Contemplations.